woo! Finally getting paid on the sorta regular! I can buy a
house car nice bike umm. Groceries and a coffee? #firstworlddancerproblems
Category Archives: dance
Today I started setting my piece for CL’s upcoming collaboration with University of Louisville.
I tapped my friend L, who was my reader for Death Defying Acts and who I’ve had as a student in the Dance for Aerialists class that I co-taught for a while. I don’t remember exactly where the initial impulse came from, but it was a good one. She has time right now, and I think we work well together.
L doesn’t have a lot of dance training, but she’s an aerialist and she practices yoga, so she has the kind of “educated body” that dancers have.
I had two goals for today’s rehearsal: first, teach her how to Tall Ladies (the easy part!); second, set the first phrase of the dance. Both goals were achieved, and it turned out that L and I make really good collaborators. I put in, among other things, fish lift to fondu arabesque (ganked from BG’s piece :D); she added a sub-phrase developed from triangle pose that played really nicely with my instinctive “next thing.”
Choreographing this dance is going to be an interesting challenge. Since the musicians will be working within an improvisational framework (you’re right, that kinda sounds like an oxymoron), I’m programming a series of phrases that can either be used in a set sequence or mixed and remixed in an ongoing improvisation.
I came into this rehearsal with only the most basic sketch of an idea: start with Tall Ladies, set L down facing the audience, rise, work through a series of smooth, circular movements in which we appear to be working together to manipulate the ball (in fact, she’s doing all the ball work at the beginning of this phrase).
The lift grew organically out of the initial ball path: that was a cool discovery. L’s triangle sequence also came about on its own. She was experimenting to see where her body wanted to go from the arabesque (the ball passes from her hand to mine as she transitions out of the arabesque), and I liked what came out.
This is the first time I’ve actually set a dance that’s explicitly a partnered piece, as opposed to one in which bits of partnering occur incidentally to the greater momentum of the piece. I think I’m going to enjoy this particular challenge.
Coincidentally, this is also the first time I’ve partnered a girl who is significantly smaller than I am. L is legitimately tiny, which is both awesome and complicated. It’s awesome because she weighs next to nothing and is super easy to balance (she’s also great at engaging through her body, which really helps). It’s complicated because, in trying to be a good partner, I’m finding that I have to adjust a lot.
That’s actually really good for me, as a guy who enjoys partnering and wants to do more of it. The first three rules of ballet partnering for guys might be, “Don’t Drop The Girl[A],” but the fourth rule is Pay Attention to What She Needs.
Does she feel like she can get her leg under her coming out of Fish? No? Maybe you need a deeper fondu, then, doofus.
Anyway, I think the resulting piece is going to be pretty cool. L and I work well together, and I think we also look good together. That doesn’t hurt, either.
A. Appendix 1: The First Three Rules of Partnering
- Don’t drop the girl.
- DON’T drop the girl!
- DON’T DROP THE GIRL!!!
Yesterday, D and I met up with some of my ballet girls at a showing of the Norwegian documentary Ballet Boys, which follows three teenage dancers at a critical period in their training—the point at which they’re deciding whether to continue training and possibly to pursue careers as dancers.
One of the three is absolutely all-in. The other two aren’t as certain. One of them mentions the reality that one faces as a dancer in training: that there’s no time for a typical adolescent social life. He walks away, briefly, from dance—but he literally can’t stop dancing, and ultimately he returns.
I was reminded of a conversation I had not long ago with my friend RH: I said something about how working in dance involves a lot of sacrifice, but it’s willing sacrifice, joyfully given. He said something to the effect that he didn’t see how sacrifice came into it.
For a second, I honestly felt kind of angry. I almost responded with anger.
Then I realized that my anger was the knee-jerk response that dancers evolve as a defense against the fact that people who don’t dance haven’t the faintest hint of a clue about how hard it is; how much it demands. They often seem to legitimately believe that we spend all our time riding unicorns and eating cotton candy and swimming in the fountains of money we get paid for it, when in fact our lives are more akin to monastic vocations—we work grindingly hard, often for peanuts, because we’re called to the Work.
And then I realized that, okay, from his perspective, the commitment and sacrifice required probably aren’t visible, let alone obvious.
RH doesn’t dance, but he knows that I love dancing. He knows that dancing makes me unbelievably happy.
He works in technology, and he loves tech—but he doesn’t love his work in the all-consuming way that I love dancing. The work that he does in the tech sector isn’t the work he’d choose to do if money was no object, and it doesn’t always really work for him. Dancing is absolutely the work I would choose to do if money was no object, and it works for me in a way that nothing else ever has.
Perhaps a bit ironically, I’m working in dance in part because, at the moment, money is an object: to dance at the level I want to, I need to make dance pay for itself. But it’s still what I’d be doing if we suddenly received a windfall that would set us up for life.
That doesn’t, however, mean there’s no sacrifice involved.
Every now and then, someone will say to me, “I wish I could do what you’re doing.”
I try to listen and respond with kindness; with an openness to the nuances of meaning that underpin what they’re saying. I try to factor in things like financial challenges and family commitments (kids change everything).
But what I want to say, most of the time, is this: You could.
Part of what people are saying, when they say that, is this: I wish I was talented enough.
Sometimes, the people saying it are more talented than I am. They may not have as much training, but in terms of raw aptitude, they have the goods. They just need the training to use their aptitude.
I have pretty strong aptitude for dance, don’t get me wrong—but talent isn’t really the deciding factor.
Sometimes they mean, “I wish I’d danced as a kid.” There’s an assumption that it’s essential to start before your bones stop growing—especially in ballet.
Early training does exert some influence—but it’s not the deciding factor, either. My bones are constructed in a way that allows for 180-degree turnout; my feet were definitely shaped by my early training. But there are much, much better dancers than I—professionals at major companies with a lifetime of training and still have less turnout and mediocre feet; but also late-starters without great turnout or awesome feet who have gone on to forge careers out of nothing.
Early training isn’t the deciding factor, either.
The deciding factor, at the end of the day, is sacrifice.
So what, then, do I sacrifice to work in dance?
First and foremost, time.
To work in dance, you have to dance. Dancing eats up oceans of time.
It’s not like training to race bikes as a serious amateur. That you can do around a life that allows some time for other pursuits. You work to develop fitness and riding skills and racing know-how—but a lot it you can do (and ultimately do do) alone, in the interstitial hours around the job that pays for the bike and the racing license and the entry fees.
Dancing requires technique, fitness, and artistry. All of these things, in turn, require a time-commitment that will eat your life. You can potentially fit your training in around another job (and make no mistake, your training is a job), but in so doing you must acknowledge the fact that you will literally have time for nothing else.
I don’t race bikes anymore. I barely ride anymore. I don’t play video games that can’t be squeezed into a few minutes here or there. I’m never up to date on TV shows. I rarely manage to swing a night out, and when I do, it’s almost always with other dancers from the class or rehearsal that ends right before said night out.
I schedule my “life” around dancing. Even my occasional bouts of paid non-dance work are subject to the demands of class and rehearsal schedules. I give up weeks of the summer, when sane people are enjoying cookouts or canoeing, to sweat my ass off with other dancers in the interest of professional development (but also because I love dancing more than anything else).
I rarely manage to snag an evening alone with my husband. Fortunately, he’s okay with that. We make the most of whatever time we can grab.
If he wasn’t okay with that? To be honest, I’d still choose dance.
My time belongs to dance, and it will for the foreseeable future.
As a function of time, I’m also sacrificing money. I could land a job tomorrow that would pay thirty times or more the amount I made as a dancer last year. It might even allow me time to dance as a hobby. It would, in one fell swoop, make us very secure, financially-speaking.
It would also mean giving up the career, such as it is, that I’m building now.
Dance is a demanding muse.
I have back-burnered every other interest except circus arts, and circus arts make the cut only insofar as they allow me to function within them as a dancer and don’t interfere with actually dancing.
I still write, but I do my writing in shreds of time snatched at the ends and beginnings of my days. I often fall asleep while writing in bed.
I know it’ll take me longer to finish the projects I’m working on, but I don’t care.
These are a handful of the things that I’ve cast into the fire in the name of dance.
I don’t mind. They’re joyfully given. I would do all of it again in a heartbeat. If you forced me to live my life over, I’d even do it sooner.
But a sacrifice is a sacrifice, willing or not. That’s the one and only thing that separates me from my friends who would like to do what I’m doing.
- Except the ones who have kids. Denis is a consenting adult who can walk away if he gets sick of playing second fiddle to a career that pays poverty wages. When you have kids, you’re responsible for them in ways that force you to make different decisions. It can be impossible to do what I’m doing and keep the kids fed and housed. In short, kids change everything.
Sometimes, the same people who say they wish they could do what I’m doing are the ones who skip class to just chill, or who opt not to take rep class because it would conflict with game night, or what have you.
I restrain myself from saying, “You could do what I’m doing if you chose dance over everything else.”
Most of the time, I don’t say it.
I recognize that I wouldn’t have understood, back before I started dancing again and realized, finally, that dancing was the only thing I had ever really wanted to do. Either you step into the studio one day and know beyond a shadow of a doubt that you would and will shove everything else off the table to keep dancing, or you don’t.
Both ways of being are valid, good, and necessary—but only one usually leads to working in dance.
As humans, we are great at wanting to want things.
I want to want to paint more often.
I just actually want to dance.
As dancers, we face the generally unconsidered, usually unspoken, and often unconscious assumption that a sacrifice isn’t a sacrifice if you do it to achieve something that gives you joy; that helps you to be a whole.
And yet we recognize the sacrifices of medical students, many of whom pursue their calling for exactly same reason that dancers pursue dance.
As dancers, our calling places tremendous strictures on our time and finances; on our relationships and our personal lives. Just because we’re making art, rather than medicine, that doesn’t make our sacrifice less worthwhile.
Doctors, when they’re skilful and lucky, save lives by cracking open chests to work on hearts.
Dancers, when we’re skilful and lucky, save lives by cracking open hearts.
Sometimes, those lives are our own. Sometimes, they’re other lives.
Regardless, at the end of the day day, the life of a dancer—like any other dedicated life—is one of sacrifice.
Because of that, however, it is also one of transcendence.
I … think? … I’m done with auditions for the rest of the month, at this point.
Yesterday’s was actually rather a soaring success, except for my usual habit of forgetting some bit of the modern combination and faking my way through that part so I could get to the next bit, then remembering it right after … but there are two thoughts that cheer me up.
First, nobody had the combo down cold. We all missed bits and pieces.
Second, that’s one of the skills they’re looking for at dance auditions. What happens when you fall off the script (because it happens even to top-tier dancers)? Do you freeze like a deer in the headlights, or do you roll on just as if you’re doing exactly what you’re supposed to? (Bonus points if you can fake your way through well enough to make it look like everyone else was wrong. I don’t think I accomplished that, yesterday, but I didn’t freeze, either.)
The dance improv bit was, of course, a blast, because I love improv.
The trapeze bit went pretty well despite the fact that apparently whatever demiurge manages music for trapeze auditions believes it’s great fun to mess with mine. I recovered from that and had to improvise a fair bit, but it turned out rather well. And, of course, I didn’t fall off the trapeze this time.
- Last year’s audition for “Orpheus” is still the one and only time I’ve fallen off a trapeze. It’s also my number-one go-to story to tell when, inevitably, groups of people start reminiscing about stupid moments in their lives. There’s something special about making what seemed, in the moment, a very logical decision to drop myself off a trapeze from ten feet in the air rather than risk breaking my arms. Dancers get it; circus people get it; athletes get it. That said, there are entire hosts of people who think I’m crazy, and they’re probably right—but I’d still do it again in a heartbeat.
Once again, at this audition, they’re not necessarily looking for a polished cirque-style act: they’re looking for expression, musicality, and the ability to command the audience’s attention (and also sound technical elements, obviously). The piece that I showed is one I’m slowly working on set to the Indigo Girls’ “Kid Fears,” and it’s intentionally struggly, so it probably didn’t really hurt anything that I was, in fact, wrestling with my own choreography (much of which I didn’t apparently remember).
The acting part was flat-out awesome, and reminded me how much I actually really like acting, my anxiety about struggling to memorize scripts notwithstanding. Maybe what I really like is cold reading. Who knows? Anyway. I really liked the part they handed me, and ran with it.
Today’s audition was also lovely. Almost nobody showed up, so it was really just three of us mostly doing some improv stuff. I already know that our AD likes the way I improvise, so that was just pure fun. I showed the bits of my piece that I could, given my lack of a partner, and described the idea as a whole. Both our AD and the guy from U of L whose group we’re collaborating with liked it, so it looks like it’s a green light there.
My next audition is a couple of weeks away, and I’m happy to have a bit of a breather. The stretch from the past couple of gigs through now has been pretty intense.
Not that I’m complaining. The other night I was kvetching about some company-related annoyance and suddenly though something like, “Oh, hey. I’m complaining about work because that’s what we do. If it wasn’t a pain in the *** sometimes, it wouldn’t be work.”
And that actually felt, in its own way, rather lovely: like, this is my work, and it’s work that I love. And I think I’m becoming rather good at it. Maybe not world-beatingly good or anything but, you know, serviceable. Which has, to be honest, always been the goal. As a ballet boy I’m smallish and muscly and I bounce like a rubber ball, which puts me squarely in the demi-character camp, and I’m fine with that. Not everyone always has to be the prince (and, honestly, there are a lot of ballets in which the prince never gets to do anything cool outside of the pas de deux). As a circus artist, I’m reliable, adaptable, and versatile: not a specialist, but a generalist, and the kind of generalist who can pinch-hit almost anywhere.
I feel like that’s a good thing to be. I’m not here for glory: I’m here because I love to move; because I can’t not move.
And if sometimes that means I’m stressed out and hounded from pillar to post … well, that’s part of it. That and Auditioning for Poverty are pretty much hallmarks life as a dancer, or indeed as any kind of performing artist, or indeed possibly as any kind of artist.
You do the Work because the Work is what moves you … sometimes more literally than other times.
I dreamed that I had decided to do a tap number for my PlayThink piece, regardless of the fact that A) there’s not really a stage at the venue suitable for taps and B) I haven’t tapped since I was, like, ten.
But, much as in real life, I wasn’t about to let a little thing like a complete lack of appropriate facilities and the required skill set get in my way 😛
In fact, I’m doing no such thing. Rather, I’m choreographing a rather syncretic piece to Queen’s “Good Old-Fashioned Lover Boy.” Admittedly, that would make a sound platform for a tap dance, if I knew how to tap dance, but I don’t particularly and I don’t plan to spend the next five months doing Emergency Tap Class.
As it stands, “…Lover Boy” has a very Vaudeville feel that calls for jazz-infused choreography, which falls outside my comfort zone (which, basically, comprises “ballet and trapeze”), but not so far out that it feels unreasonable.
I had intended to use something a bit less up-tempo; something similar in tone to Trenet’s “La Mer”—but sometimes one’s Muse cracks one upside the head and says, “You’re gonna do this and you’re gonna like it.”
Muses can be jerks sometimes.
Anyway, after being assaulted by the Muse (which sounds, to be honest, like a title you’d find in the Romance section of the Kindle Unlimited catalog), I spent a little time last night putting together some ideas. I think it’s going to work, and I have until July to make it work. I have also imagined some ways to incorporate Denis that will be possible even though he won’t be able to really use his right arm yet, but we’ll see if I can talk him into it.
I’ve also got kind of a choreography workshop thingy coming up that should be cool. I don’t think I’m going to workshop this specific piece, though: rather, I’m going to see if I can find a partner for Barber’s “Adagio” or start working on either “Bolero,” one of the the pieces for Peace, or the opening piece for Dancers Watching Dance, which is (of course) the Four Little Swans.
I’m leaning away from DWD, though, because as much as I love the idea, it’s explicitly comedic ballet, and I feel like “…Lover Boy” is borderline-comedic and could stand to be balanced with work on a serious piece. “Bolero,” as a standalone piece, falls somewhere in the middle: Simon Crane is a reasonably serious ballet (which is to say that in the great tradition of ballet, we suspend our mirth at the idea of people madly in love with birds and vice-versa), but “Bolero” is very much a kind of production number that could be played for laughs.
It’s really interesting how quickly I click back into Ballet Boy mode. I’ve spend my break consumed by self-doubt, and several times thought about throwing Simon Crane out the window and never trying to choreograph a full-scale story ballet at all … and yet here I am, thinking very seriously about choreography again.
One last bit. I’m kicking around a plan for a wee choreography or improv retreat weekend some time this summer (or late spring). I’m basically the worst planner ever, so this is a terrible idea, but I really want to try to make it happen, and I think I have some good ideas. Having a camper that sleeps four in dedicated beds and up to seven if you convert all the things helps: we can snag a site with a picnic pavilion at a state park or whatevs and people don’t have to necessarily tent-camp. I think that if I start planning now, it might actually happen.
So! Our AD emeritus, who once gave me an extremely memorable correction about my supporting leg, will be teaching Advanced Class going forward o.O’
I don’t know why I find him intimidating (possibly because he’s been dancing longer than I’ve been alive?), but I do. As such, I’ll be working on relaxing and keeping my head together. Which I’m working on anyway: I don’t get nervous on stage, but I do get very charged up, and sometimes that translates to doing things faster than I should. Learning to dial things back will help in either situation.
Anyway, Le Directeur Ancien takes over next Saturday.
I’m hoping he’ll take us to task on port de bras. Yesterday, I finally remembered to ask Señor BeastMode for input on this year’s ballet goals, and his answer was, “Get the whole body working together—that coordination will take you to the next level. You’ve got the legs and the feet.”
That’s strikingly similar to BW’s input. Also a pretty nice vote of confidence from the BG (AKA Señor BeastMode).
I haven’t checked in with Killer B and J yet, but I’ll try to do that this week. I should see both of them tonight at J’s Monday night class.
Saturday class this week was edifying, except for the moment in this very simple balancé x2 — soutenu — balancé combination when I was thinking so hard about refining my balancé that I forgot to soutenu. Erm. Oops?
It didn’t really screw anything up, though, since that was the option for newer students anyway. There were 15 of us all jammed into the tiny studio, so BG came up with a waltz combination we could all do at center without killing each-other (we also did a nice terre-a-terre waltz). The only time I’ve ever seen more people in Studio 5 was the time Paul Taylor Company showed up en masse.
My piece for the show on the 28th is essentially done and dusted. I ran it about 10 times today with Denis reading for me (the whole show is set to poetry), then I took a break and danced with my scarf (which is definitely going to become a thing in my flow repertoire).
I also got to chat with my actual reader, L, about prosody. Next Saturday, we’ll run the piece together a couple of times, and I think we’ll be set. The show is the final weekend of January. It’ll be a nice way to launch this year in terms of performing.
Tonight I’m finalizing my application to perform at PlayThink, even though I really have no idea what I’m going to do, since I don’t have an acro partner. Basically, I need to decide whether to choreograph a solo piece or recruit a partner. I’d really like to work with a partner, but I’ll have to poke around and see who’s going.
I’m really excited about the beginning of rep class and our upcoming piece for Spring Collection. It’s looking like we’ll have more of us than I expected, which is nice (though it would’ve been cool in its own way if there were only three of us).
This week we have two Cirque workshops as well as the normal array of classes and so forth. It should be an awesome week, but also heckin’ busy—as will be the rest of the first half of the year.
So that’s it for now.
We had a lovely jaunt to my parents’ house over the holidays, returned in time to take a breath and then enjoy a circus party with some old friends of D’s, got almost no sleep, and arrived at our healthcare network’s day surgery center at 5 AM on the 28th to get D’s rotator cuff fixed.
Since then, I’ve gone to two parties (one unofficial, one official), done a ton of cooking and cleaning, and tried to recoup my lost sleep whilst waking up at 4:30 to issue medications to poor D, who currently can’t really do feck all with his right (and dominant) hand.
None of this has kept me from nearly losing my marbles due to a combination of my brief ballet break, sleep deprivation, and stress—so it’s with great anticipation that I look forward to returning to class tomorrow.
At the primary studio, there have been some changes in the interval.
First, they’ve instituted an unlimited monthly tuition rate that literally cuts my old tuition rate back by half. Given that I normally hit twenty classes per month, it saves me $70 even over the professional rate. I jumped right on that bandwagon, of course.
Second, Killer Class is now an advanced class in name as well as in fact. I’m not sure that will actually have any bearing on what we do in Killer Class, since most of the time it’s an advanced class in terms of both pacing and technique anyway, but I do think it gives potential students a better sense of what to expect.
Third, we’ll begin work on our piece for Spring Collection next week. I’m quite looking forward to what Señor BeastMode has in store for us, even though a couple of my best girls might not be joining us this time.
In other news, my Trapeze class has moved to Wednesday … which is excellent, since it means I can get my butt back to Tuesday’s modern class (which is in the evening now). I guess that’s technically a Circus School change, and not a Ballet School change, but still.
I have one show this month (a volunteer gig) and two next month this far. D’s surgery means I’ll be limiting myself to local-ish auditions for the moment, since he needs me around to do stuff like driving and, you know, zipping up his trousers. And stuff.
That’s assuming we don’t murder each-other as result of overexposure in the next two weeks. I love D, but he’s as underfoot as a cat when I’m trying to clean 😉
Regardless, there’s a modern jazz company running an audition next week, and I might go even though I’m not even sure what modern jazz actually is. Guess I’ll find out? But first I’ll have to get someone to shoot a new headshot, maybe.
In other news, the hourly rate of pay for my last paid gig blew my mind. It worked out to more than three times as much per hour as I used to make in my (woefully underpaid, to be fair) banking-industry tech job. Also increased my dance-related income for the year by a margin of 1/3 of the overall total (which was still less than USD 2000, but every little bit counts).
There’s definitely a degree of “I can’t believe they pay me for this” going on over here, but it was also a timely reminder that they (whoever “they”may be) pay me—and pay me startlingly well—because I’ve worked pretty hard to develop a set of skills for which demand (when it exists) outstrips supply.
I try to remind myself that the fact that I enjoy working on this particular skill-set doesn’t mean it’s not work. Nor does the relative ease with which I adapt to the work mean it’s easy—just that I’m well-suited to it.
Either way, it was a nice vote of confidence at a time when I needed one. Not that I’d stop dancing if I never made another dime doing it—but if have to seriously contemplate my current career decisions.
woo! Finally getting paid on the sorta regular! I can buy a
Good class tonight (technically last night, at this point). Back to accidental private class mode, but instead of the pyrotechnics, we focused on the details. This meant a very, very long barre in which I did something like 24 super-slow grand pliés in first whilst BW rebuilt, cleaned, and polished my port de bras and épaulement and the coordination of the same with the legs (which know their job fairly well). I keep forgetting that the Swiss have precision engineering in their blood.
This resulted in me actually looking like the danseur I aspire to be (at least while doing grand pliés in first). BW’s patience and precision are the perfect foil for my impatience and impetuousity. He is not at all afraid to make me do the same thing a million times until I really, really get it.
At one point, he said, “You’ve already got more of this than a lot of people. You’ll notice it when you watch people dance.” That’s quite high praise coming from him, and so indicative of something fundamental about him: he never gloats about his own precision and technical prowess; he seems to be frustrated that not everyone has it. But I love him for that, and for taking the time to impart precision and sound technique upon me.
After, we carried that lesson into a deceptively-tricky rond de jambe (relevé lent devant [“Higher!”] with arm in 2nd, allongé as you tendu, arabesque with arm in 2nd, tendu allongé, 4 ronds without port de bras, allongé, cambré into the barre and down the front, tendu allongé, reverse, cambré in and down the back, tendu plié allongé passé balance, sus-sous, allongé, detourné, second side—not complicated, but he wanted it absolutely precise), a lethally-slow fondue with synchronized port, and even the grand battement.
Amidst all these allongé, I discovered that the bones in my left shoulder are clicking. Later I mentioned it to D. Turns out I’ve separated my left shoulder somehow—mildly, but it also explains the ache in the morning.
I may, for all that, have actually done this to myself in my sleep. It could have happened at literally any point. As such, I’ll be working on shoulder stability (read: pumping up the delts, evidently) going forward. My wonky connective tissue probably played a part in this development, and the answer is always “strength training.”
The right shoulder only grinds when I do certain kinds of push-ups, these days, so I’m sure the left will sort itself out. Curiously, I haven’t noticed the left shoulder grinding during push-ups, so it might not even take much to correct it.
A couple years back I noticed that my tuchas has developed an oddly triangular profile.
Recently, I noticed that it has once again returned to a triangular shape.
Today I realized that it’s a function of conditioning: as I progress from (relatively) out of shape to stage-fit, my butt progresses from “round” through “triangular” and finally to “square.”
Huh. You learn something new every day.
In other news, we left at the crack o’ dawn yesterday for Atlanta, checked into our hotel at 3 PM, established a CirqueLouis outpost, then proceeded to regroup with the crew before dinner and Cirque du Soleil’s Luzia.
And speaking of Luzia—you guys, it knocked my socks off.
Luzia is a beautiful show—funny and tender and full of love for a place and for the people k and cacti) who make that place shine, not to mention packed with the high-calibre circus performances that give Cirque du Soleil its stellar reputation.
B on the straps was, for me, the pinnacle—he’s beautiful and performs with ardor and pathos. I don’t really have language to describe his act. It was breathtaking.
We also got to roam around on the stage—which is fecking amazing, you guys; the technology!—and backstage, where the CduS cast trains and gets physical therapy and does everything else and where the giant amazing puppets live.
After we chatted with the cast about circus stuff (and other stuff) over drinks, which was awesome. I tried to do a lot of listening. You learn a lot that way.
There’s much to be said for a life in which a business trip means watching a phenomenal performance and talking shop with phenomenal performers, then conducting a 5-hour long mobile meeting—part post-mortem on their show, part post-mortem on ours, and part spitball session for the next show—on the drive home the next day.
Little by little I feel like I’m starting to understand circus as an art form of its own, discrete from ballet and modern dance and so forth. I really owe that Jordan, our AD, who has been in love with circus all his life, who has built his life around circus, and who is teaching me (the company’s resident ballet boy) to really love circus in its own right.
Depression-wise, I’m making it back now, I think. The edges are still raw, and I need to respect that and not push myself off a ledge by diving back into too much at once. This is going to mean very consciously taking rest days, especially as I reset and shift back to a different rest-day schedule.
We’re halfway through November, somehow: I have roughly six weeks til it’s time to start hitting auditions.
When I headed to Florida back in September, January seemed unimaginably far away. Now it’s right around the corner.
BG, Killer B, and BW are rebuilding me as a dancer. Jordan is refining me as a performer. I’m not yet back to the place in which I feel like, Yes, I should go audition for ballet things, but I’m at least in a place where auditioning for cirque things and ballet-adjacent things feels like it makes sense.
I want to say, “Let’s see where I am in six weeks,” but I kind of think that’s giving myself too much room to weasel out.
Anyway. That’s it for now. I’m exhausted and ready to turn my brain off for the night.